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Mini-me is a miniature street artist from Melbourne.  Mini-me is also the street artist expression of Walking Tours of Melbourne who conduct educational walking tours for approximately 2000 primary, secondary and tertiary students a year. Mini-me can be most easily located on the Instagram site: findminime

There are many different kinds of miniature street artists in the world. Perhaps the best-known is the British artist and author Slinkachu. The work of each miniature artist, however, is usually very different including Mine-me.

Mini-me is an ephemeral form of art which tells urban stories. Tiny figures are placed temporarily in context with urban infrastructure or art to create a story about architecture, social justice, art, sustainability, heritage, nature, society or iconic landscapes. Images are then photographed or used as artworks or as visual story-telling devices often via Instagram and other media.

Minime are retained by  ‘Big-me’ who provides the Mini-me with a permanent home and takes them on life adventures. They are Big-me’s avatar providing the artistic means for a life-long series of personalised images, stories and art. Up to two thousand Mini-me’s are travelling our planet with their partners creating stories about their life journeys and the worlds they travel through.

On a conceptual level we see Minime’s as survivors in a big scary world. Our art however reduces their world to a manageable size just as all Big-Me’s try to do in real life.
SAFETY: They represent the lost people of our world now been given a secure and exciting life with their new big protectors.
RESPECT: They represent that respect for the humanity and dignity of every individual,  no matter how small in social status, is the foundation of a free and sustainable society.
SUSTAINABILITY: Because Mimi-me are ephemeral, one Mini-me can be used a thousand times without damage to the heritage architecture of our urban lanes.

People often ask about the physical source of Mini-me.   Mini-me were originally created for use on miniature railway sets. They are the ‘public’: tiny pedestrians and commuters on the trains or platform, waiting to board or walking the local community. Made in Asia, they are a stereotypical view of what westerners looked like in the 1940s-50s and thus represent a cultural view of a world from the past.
Today they are immigrants who have time-travelled to the 2000’s and are bewildered at what they find. Fortunately, kindly people are at hand to help them adjust. And this era is not an easy world to adjust, even for us.







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